Blue Meadow Strokes Unique Nastaliq Created by Ali Shirazi

Ali Shirazi and Blue Meadow Strokes Calligraphy.

IranArt : You are looking at a magnificent piece by Ali Shirazi that is captivating and eye-catching.

A master calligrapher's color science must have produced a piece of work that uses just one shade of blue on a black backdrop while still being incredibly shiny and dazzling. The elegance of the silver color dots in the work's middle highlights the matter the most.

No question, the piece's expressiveness is significantly impacted by its size. The artwork is 180 by 230 inches and was made on canvas using the acrylic technique. The observer feels as though he is submerged in the mass of letters due to the work's huge body.

This is the reason why a lot of theorists think that you have to watch an artwork carefully in order to grasp it. It is worth noting that this artwork is on display for anyone who is interested in viewing it at the Pasargad Bank Gallery Museum located in Tehran's Negarestan Garden.

1:

The black background is a reoccurring element in some of Ali Shirazi's works, including this one. It is unknown if this night was already colorful and lovely before all of this blackness invaded it, or if these vibrant and sculptural letters were born in the middle of a pitch-black, dark night. The work's allure is enhanced by its ambiguity and mystery, which the audience perceives in accordance with their personal beliefs and emotional condition.

2:

Calligraphy or Paintings? Which form of art is the focus of this series by Master Shirazi? This is the flip side of the uncertainty that permeates the majority of the artist's calligraphic paintings. A casual spectator who is not familiar with Shirazi's work will undoubtedly perceive a painting composed of letter twists and choreography, but a viewer who is aware of Shirazi's training and extensive experience in classical handwriting will likely focus first on the superb calligraphy discipline and its strict adherence to all conventions.

In this piece, we are looking at a painting and a calligraphic artwork at the same time. The audience will once more decide which comes first, but in this case, we can put forward the argument that since the picture is significant, we are dealing with a painting first!

3:

The fact that these enormous organs, which are embracing the plant stems as they travel up and down the work of art, are growing from above or below, adds another intriguing ambiguity to the piece. Do these plants have their roots in the earth or in the sky?

The work's most charming element, nevertheless, is a horizontal line reminiscent of Siyah mashq (English: Black Practise), which flows like a river and has the same silver specks. This line tells of the happiness and tranquilly that contemporary humanity so desperately needs.

4:

Iranians have given calligraphy, particularly Islamic calligraphy, a wonderful gift in the form of Nastaliq. Among this font's beauties are the different activities of the letters and their freedom and liberation under the stringent historical and conventional restrictions. In the past ten years, these potentials have been introduced to new domains by veterans like Shirazi. While the fundamentals of calligraphy are still present, Nastaliq has discovered an illustration style that is stunning and visually striking without relying on the words' intended meaning.

5:

Shirazi's calligraphies are rapidly gaining popularity in the Middle Eastern art market. In addition to his historic 2012 Christie's auction result of $60,000, the Iranian artist has achieved incredible prices for much sought-after pieces at Bonhams London and other auction houses; examples of his previous sales can be found on reliable websites like Art Price.

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Many of the most valuable collections in the Middle East contain pieces by Master Shirazi, including those of prominent Arab poet and writer, Mohammad Al Murr in the United Arab Emirates; the Al Owais Institute in Dubai; the Anwar Gargash collection in Dubai; the Juma Al Majid collection in Dubai; the museums in Sharjah, Doha, and Qatar; the most significant private collectors, such as Pasargad Bank of Iran; and religious collections in Iran, including Tehran's Quran Museum and Imam Ali Religious Arts Museum.